Storytelling for Lawyers

An excellent primer on narrative theory for lawyer-storytellers has now appeared. I refer to Philip N. Meyer’s recently published Storytelling for Lawyers (Oxford University Press, 2014), which is available in Kindle, hardcover and paperback versions.

Meyer convincingly makes the point that much of what lawyers do is storytelling. Whether they are presenting cases in the courtroom or representing clients in contract negotiations, lawyers tell stories. Furthermore, a lawyer’s success depends to a surprising extent on his or her skills as a storyteller.

Meyer suggests lawyers’ stories are relatively straightforward and more like those in Hollywood movies than those in literary novels. However, all stories—simple or complex—include a setting, characters, a plot, a point of view, and a narrative voice. Meyer demonstrates how conscious attention to each of these components can improve a story.

I found especially interesting Meyer’s observation that careful crafting of a story’s beginning greatly improves the likelihood of a story’s conclusion being effective and convincing. He illustrates this point with insightful commentaries on the closing arguments offered by Jeremiah Donovan on behalf of Louis Failla and Gerry Spence on behalf of Karen Silkwood.

Overall, Meyer’s book is a great story about lawyers telling stories. He brings his lawyer-storytellers to life and critiques their narrative efforts with great delight. I welcomed his reminder that the best lawyers can be and are artists.

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The Problem of Having Really Good Plaintiff Cases

If you handle plaintiff cases your dreams are of what I call the “Holy Trinity” cases: Great Liability, Big Damages, and a Well Insured Deep Pocket Defendant. And, even better, you would think, is one after another of those cases. But, as they say, in every silver lining there is a black cloud.

A recent three-week trial provides lessons for long-term career development for trial lawyers principally handling cases for plaintiffs. Since my practice consists of two-thirds defense and one-third plaintiffs (including one nine figure verdict for a plaintiff) I can give you a view from both sides of the “v”. In this case I happened to be defending.

The injuries were initially catastrophic with the plaintiff having “died” (a bit of exaggeration by plaintiff’s counsel in opening statement, but nonetheless she did have a very low pulse and respiration rate) in the ambulance to the hospital. She had been crushed between my client’s semi-tractor trailer and a stopped car in a sorority car wash taking place in a shopping center parking lot. “Squished” was plaintiff’s counsel favorite word in the trial.

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“The King’s Speech” and Trying Cases

The King's Speech

“The movie “The King’s Speech” is the story of . . . .”

How do I begin to tell you what it is about?

Do I:

give you the history of which King of England is the subject of the movie, or

tell you it is about a speech problem he had and the unique relationship that he and a speech therapist (who had no credentials) developed to mitigate the problem, or

tell you about the likely problems that caused his stammering or the relationship this has to his brother who abdicated the throne to marry Mrs. Simpson?

With mountains of information, visuals, and audio recordings available, how does an author or screen writer:

pick and choose what tells the story best,

order it in an understandable fashion, and

tell the core of the story (in this case, the character and relationship of a King and a commoner and a speech impediment) in a fashion that connects to the viewer?

With mountains of discovery, investigative reports, photos and video available how does a trial attorney:

pick and choose what tells the story best,

order it in an understandable fashion,

and tell the core of the story (in our cases, how the accident or event occurred, the contract breached or employment wrongfully terminated and the damages that were caused and who is responsible) in a fashion that connects to the juror?

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